It addresses the need for government grants for the arts, while acknowledging the art industry’s costly infrastructure. It also points out the uplifting spirits of the arts, much needed in the financially challenged lives of Americans today.

Take note!

Art Management Crisis

“While government bailouts are being offered or considered for financial institutions, the auto industry, homeowners, and so many other needy and worthy sectors, one group is quickly and rather quietly falling apart: our nation’s arts organizations. In the past few months, dozens of opera companies, theater companies, dance organizations, museums and symphonies have either closed or suffered major cash crises. …” Michael Kaiser says.

As someone who has made a career out of fixing troubled organizations, Kaiser realizes that the problems faced by arts groups are often related to poor management and governance. “I also know that the difficulty in improving productivity in the arts is a central cause of our financial challenges: It takes as much time to play Beethoven’s Fifth Symphony today as it did when the piece was composed.” he said. It is a challenge indeed.

Need for Government Grant

Kaiser clarifies that both government subsidies or grants as well as private contributions are now more than ever needed to help arts foundations balance their budgets.

“Well-managed arts organizations have typically been able to find the money required to operate if they create interesting programs, market them aggressively and build strong donor bases.” But these times are different, and help is needed for all, he argues.

Arts Support In Practical Ways

Michael Kaiser is an expert in his field. He established the Kennedy Center Arts Management Institute to offer advanced training for young arts administrators and has developed a series of programs to help train others in the field.

Arts Management: Help Yourself!

Just past September Kaiser published an actually readable book on the topic: “The Art of the Turnaround: Creating and Maintaining Healthy Arts Organizations“. This book takes you through his process and philosophy for turning companies around. It has been well received ~ said to be the best book on administration in the arts.

Contemporary Art :: Fine Art :: Top Artists :: Art Reviews, Art Fairs & Exhibitions. Copyright , e ART FAIR .com, All Rights Reserved.

The Margulies Collection | 2008 – 2009 Exhibition

The Margulies Collection at the Warehouse, Miami, Florida, is said to be one of the city’s most stunning private collections. It includes sculpture, photography, video and installations, was curated by his longtime curator, Katherine Hinds. It celebrates a decade of exhibitions and educational programming that explore contemporary art and culture.

Currently, during Art Basel Miami Beach and through April 25 2009, the Collection presents work – among others – by Magdalena Abakanowicz, Isaac Julien, and George Osodi.

There has been a lot of interest in the London-based artist Isaac Julien’s video installation on three big screens, Western Union : Small Boats, 2007. This film installation is about migration and the hope for a better life. The video contrasts the stunning surroundings of the Mediterranean Sea and a Sicilian palace, with the desperation in the flight of North Africans on rickety boats, who seek refuge in Europe. It is well known that many die in the journey. ”The Europeans have been dealing with this issue quietly,” according to Julien, commenting on stories in the Spanish press about corpses that sometimes wash ashore. “But it’s no longer a Spanish problem, but a universal problem.”

Other artists on show are:

• Magdalena Abakanowicz Hurma 1994-1995
  An epic figurative environment by the renowned Polish sculptor

• Oil Rich Niger Delta by George Osodi
  A photographic essay on the people of Nigeria

• Photography and Sculpture: A correlated Exhibition
  New and vintage photography linked to contemporary sculpture

The central theme of the entire collection is the human condition, in all its facets. The Margulies are humanitarians. While Mr. Margulies collects humane art, Mrs. Margulies, retired from her professional career and established a women shelter, called the Lotus House. This year, the collection hosts a sale of photographs by local and international artists to benefit her shelter.

Interview with Art Collector Martin Z. Margulies

Martin Z. Margulies is collecting art since more than 30 years already, the Margulies Collection at the Warehouse celebrates a decade of exhibitions and educational programming. Currently, during Art Basel Miami Beach and through April 2009, the Collection presents work – among others – by Magdalena Abakanovicz, Isaac Julien, and George Osodi. In this video, Martin Z. Margulies talks about the recent acquisitions, the common thread of the collection, the roots of his interest in art, what things have changed and stayed the same over the years, and the collaboration with the Lotus House (a shelter for homeless women and children, run by Martin Z. Margulies’s wife Constance Collins Margulies).

30 Americans, Rubell Family Art Collection – video

The art collection of the Rubell Family is actually one of the more important contemporary art collections in the US, featuring many well-known artists such as

The Rubell Family started collecting in the 1960’s.

Within this context then, they have always collected African-American artists as a part of their broader mission to collect the most interesting art of our time.

Then, about 3 years ago, they concluded that there was a critical mass of emerging African-American artists, and began the process of understanding what seemed to be a new movement.

When they asked these artists about their influences, they heard some of the same names over and over: Robert Colescott, Renée Green, David Hammons, Barkley Hendricks, Kerry James Marshall, Gary Simmons, Lorna Simpson, Kara Walker, and Carrie Mae Weems. They had been collecting almost all of those artists for decades.

The concept of a show evolved, and they decided to call it “30 Americans”, doing away with the ethic reference, which it actually discusses.

There are actually 31 African-American artists in this year’s exhibition at the Rubell Family Collection at Art Basel Miami. It showed more than 200 works of art, occupying the entire 45,000-square-foot exhibition space of the Rubell Family Collection.

The show was called “30 Americans” and was a portrait of contemporary African-American art. It was a very impressive show. Have a look:

Artists presented:
Nina Chanel Abney
John Bankston
Jean-Michel Basquiat
Mark Bradford
Iona Rozeal Brown
Kara Walker
Nick Cave
Robert Colescott
Noah Davis
Leonardo Drew
Renée Green
David Hammons
Barkley I. Hendricks
Rashid Johnson
Glenn Ligon
Kalup Linzy
Kerry James Marschall
Rodney McMillian
Wangechi Mutu
William Pope.L
Gary Simmons
Xaviera Simmons
Lorna Simpson
Shinique Smith
Jeff Sonhouse
Henry Taylor
Hank Willis Thomas
Mickalene Thomas
Kara Walker
Carrie Mae Weems
Kehinde Wiley, and
Purvis Young.

Find this collection off the beaten path. It is exhibited in a converted 45,000-square-foot former Drug Enforcement Agency (D.E.A.) confiscated-goods warehouse in a somewhat desolate storage district scattered with small lower income housing.

Open to the public since 1996, the collection features rotating exhibitions of work by such prominent artists as Maurizio Cattelan, Marlene Dumas, David Hammons, Keith Haring, Damien Hirst,  Anselm Kiefer, Jeff Koons, Kerry James Marshall, Paul McCarthy, Takashi Murakami, Neo Rauch, Charles Ray, Gregor Schneider, Cindy Sherman, Rosemarie Trockel, Luc Tuymans, Kara Walker and Lisa Yuskavage.

Contemporary Art :: Fine Art :: Top Artists :: Art Reviews, Art Fairs & Exhibitions. Copyright , e ART FAIR .com, All Rights Reserved.

Welcome to the #3 edition of the no name for ART carnival. The sections to this carnival are:

• museum shows and gallery shows
• artwork and artist reviews
• art collecting
• how art is made
• other submitted articles on contemporary fine art

museum shows | gallery shows

Pooch by Oscar Oiwa

The Museum of Contemporary Art in Tokyo presents Oscar Oiwa’s Dreams of a Sleeping World on show till July 6, saying “While moving his base of operations from his native Sao Paulo to Tokyo and then New York, Oscar Oiwa (1965-) has created works exploring all aspects of his urban surroundings. Oiwa interprets the world around him with agile brushwork and singular imaginative powers, in pictures that overwhelm the viewer with the rich appeal of the painting as a medium. Displayed will be some 80 works from his throughout his career, from his São Paulo days until the present.”

Margaret Mary presents Historic Pottery and Tiles at the Cluny Museum posted at ‘The Earthly Paradise’ saying “I was instantly struck by the similarities between the tiles in the Cluny and the work of William de Morgan during the late 19th century. I had learned a while ago that Morgan’s work was inspired by Iznik (Turkish) and Persian ceramics, but this was the first time that I was able to see his inspiration up close. The similarities are striking!”

Rabbit by Jeff Koons

Funhouse, a Jeff Koons retrospective by Peter Schjeldahl for the New Yorker. Schheldahl sets out: “There is something nightmarish about Jeff Koons. The fifty-three-year-old American enchanter and provocateur is a major artist, in the old sense of one who edits the past and sketches the future of an art—in this case, sculpture. (Koons’s uncannily mediocre paintings suggest an insensibility in two dimensions that is as amazing, in its way, as his genius in three.) Major artists X-ray the cultures that give rise to them. A Koons retrospective that has opened at the Museum of Contemporary Art in Chicago occasions queasy wonderment, on the order of “We’ve come to this?,” and the perhaps reluctant conclusion “Uh-huh.” It confirms Koons’s scope as an artist unconfined by the conventional art world, whose work addresses everybody.”

Joke by Richard Prince

The Serpentine Gallery in London presents Richard Prince: Continuation. “I KNEW A GUY WHO WAS SO RICH HE COULD SKI UPHILL . . .” announced the enormous joke painting in the central room of Richard Prince’s first solo show in a British public space, which opened at the Serpentine Gallery in London on Wednesday night. The Exhibition continues till 7 September 2008. The gallery says “Richard Prince is one of the most innovative and influential artists of our time and can be variously described as a painter, photographer, sculptor and collector.” The press says “Prince is a key practitioner of appropriation art and his art is an acquired taste.”

artwork and artist review

This link shows you that digital art, to be enjoyed on the computer, can indeed be GREAT ART (IN CAPITALS).
The splendid screensaver, called Vernanimalcula was designed by artist team Tale of Tales, i.e. Auriea Harvey and Michaël Samyn. It is a public art project sponsored by the Bank of Belgium. Vernanimalcula means “small spring animal”. It is the name given to a primitive animal that lived on the seabed 580 to 600 million years ago. Vernanimalcula is the earliest known animal with bilateral symmetry, which explains the organic and symmetric nature of this creation. Between the tangled lines of the design, the viewer can make out shapes and figures, so it defies the imagination all the time you look at it. Do have a look!

Astrid Lee presents pop artist Peter Max on this blog and contemporary online art magazine , http://www.eArtfair.com/blog, stating : “Pop Artist Peter Max, like his contemporary Andy Warhol, had his artistic way with iconic figures: while Warhol captured Marilyn and Liz in Day-Glo glory, Max caught the visages of the Statue of Liberty, the Mona Lisa and George Washington in vibrant Technicolor (they both took a turn with Mick Jagger).”

sarah presents Jen Bekman makes editioned art affordable at 20×200 posted at SARAHSPY. And article on art prints.

Jean G Dayton presents The Abstract Artist: Abstract Art – Inspirations posted at ‘The Abstract Artist’, saying, “the artists inspiration for painting abstract art”.

art collecting

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By Susan Obaza

Albert Decker presents Art Swap! posted at Resonant Enigma, saying, “Sometimes artists collect each other…”

how are is made

SeaBird presents Interview: Michaella Ruffino of Eclectable posted at SeaBird Chronicles, saying, “The interview talks about the creative process, artistic inspiration and other art making considerations. The interview offers a backdoor insight into the life of this artist in pursuit of art.”

a bit of art history

Sam presents Andy Warhol and Pop Art posted at ‘Surfer Sam and Friends’, saying, “Andy Warhol and Pop Art. The Popular Art Movement. American pop art was fascinated with mass culture, advertisements, comics and cartoons. It included words, speech balloons and contemporary symbols like flags and the dollar bill.”

the end

That concludes this edition. Submit your blog article to the next edition of no name for art using our
carnival submission form.
We welcome genuine posts on fine and contemporary art. The more unique, the more interested we are. This is a child-friendly site ~ consider this in your submission. Art critique articles welcome!

Past posts and future hosts can be found on our blog carnival index page.

Contemporary Art :: Fine Art :: Top Artists :: Art Reviews, Art Fairs & Exhibitions. Copyright , e ART FAIR .com, All Rights Reserved.

It starts out with: “how do you determine if a work is good work of art from an artist who is going places, or whether an artwork is just promoted today, but is likely to be gone tomorrow?”

1. If any dealer try to tell you how great an investment is, don’t trust it.
2. Instead, acquire art only when it touches with you, like a piece of music works.
3. a good work of art grows with you as you grow as a person.
4. if the artwork you buy goes up in value, and you love it very much, then you are not going to want to sell it.
5. furthermore, look at the biographical info to assess if the artist is in it for the long haul.
6. check out the gallery over time to see what they are showing over time.

He continues his insights in the second video:

The talk was held an exhibition at the Beverly Arts Center in the hip groovy atsy area of Chicago, January 25th 2008.

Contemporary Art :: Fine Art :: Top Artists :: Art Reviews, Art Fairs & Exhibitions. Copyright , e ART FAIR .com, All Rights Reserved.

He applauds the policy of Nicholas Penny, the newly appointed director of the National Gallery in London, UK, to move towards ‘less attention to blockbuster temporary exhibitions and more emphasis on presenting the collection sympathetically’.

Blockbusters are perhaps not where it’s at. However, temporary exhibits can be used to relate and say something about the permanent collection in very meaningful ways. Temporary exhibits get the best-looking collateral and tv commercials. When related, the benefits of temporary exhibits can have a spillover to the permanent collection. So, by and large, I’d agree with Penny with his choice.

It is the responsibility of a gallery director to protect the value of the collection. In addition, his role is to leverage its intrinsic artistic value and show it to the gallery audience, through various modern forms of communication and showcasing. I love for example how the National Gallery showcases and teaches about Degas’ famous painting ‘Miss La La’ in its interactive online ‘Painting of the Month’.

Penny’s plan is to concentrate on pre-20th century work. This does sound rather ‘boring’ to me. I have my favorites from all times. And, yesterday is as much part of history as a day two centuries ago. I am not clear on the true motivation for this. ‘Concentrate’ seems an ill-chosen word as most of history happened pre-20th century. I feel that museums should not only look at the artwork they already have on hand, to make the strategic decision on what to feature in the upcoming decades. Surely, there has to be a vision regarding showcasing the voice of art, as it has emerged and as is emerging.

In a prior interview, Penny stated “I think that a major gallery should be prepared to introduce people to something they know nothing about.” I wholeheartedly disagree. I think the purpose of an art gallery should be to show people something that helps them contemplate their own reality. Usually, that involves bringing them something they are already familiar with and presenting it in an entirely new way, and/or in more detail.

The good news is that Penny has a lot more experience in running a world-league art museum than I’ll ever have, so I have good faith. Time will tell if we need to bring in a whole new breed of curators and museum directors… Because, after all, we’re moving towards 2100.

Interview with Chuck Close, Artist
1) Artist clips: “Chuck Close: Portrait in Progress” [Muse Film and Television / Art Kaleidoscope Foundation /WNET];
2) book: “Chuck Close” [The Museum of Modern Art]
“The Portraits Speak: Chuck Close in Conversation with 27 of His Subjects”

Interview with Robert Rauschenberg, Artist
1) Interview
2) Walking tour at the Guggenheim

Continuation of part 1 of the article by Gerard Van Weyenbergh:

My investor, is in love with the painting, but still wants to have Sotheby’s and Christie’s opinion about the value of this painting. The response came rapidly: they will not accept this painting for their auctions, because it is not in the Ceroni archives as a first response, and as a second response when they find out that the painting is repertoried in the archives, because it is not illustrated in the Ceroni catalogue!. Other ways they are saying that the painting is maybe a fake? They didn’t say this but what must the investor think?

The painting is under suspicion! Because the staff from Sotheby’s and Christie’s in charge of the Modern and Impressionist art have cold feet or they don’t have enough experience or are they just trying to have the investor buy their own products, where, of course, at this rate they will make a profit of $ 1.6 million if my investor buys from them a similar value painting? This will stay without response.

What is evident: is the fact that this painting exhibited in so many museums, repertoried everywhere, seen by millions of people , a painting that was chosen by eminent curators as a jewel of Modigliani’s art to be part of their so difficult to assemble paintings exhibitions.

It is evident that Sotheby’s and Christie’s are killing an artwork of major importance , and gave it a “ suspicious “ label for their own reason, that I will qualify as financial interests reasons. My investor didn’t buy the painting and it went back to Europe..I didn’t make any commission for a very difficult work that took me several months and cost me a serious amount of $ in insurance to ship the painting to the USA.

I conclude that if you have some very important art, with all the certificates you want, with the best provenance possible, you may be highly disillusioned if you want to sell that major art work you thought has so much value only because of Sotheby’s and Christie’s may decide it so!

For me this is manifestly a conflict of interests in the art business. An auction house is where you sell your art at the highest bidder, the managers should not interfere in the authentication process by taking a position as negative as they did in this case. I mentioned each time Sotheby’s and Christie’s at the same time, even if my investor was working with one of them, but through personal verification I find out that they are working under a same umbrella, so they did in the past so commented here in articles I find on the web:

The Art of the Steal: Inside the Sotheby’s-Christie’s Auction House Scandal
http://www.karisable.com/crwc.htm/

2000: Sotheby’s and Al Taubman. The world’s elite were ripped off by years of price-fixing on the part of those supposed bitter competitors, auction houses Sotheby’s and Christie’s. Sotheby’s chairman, Taubman, was found guilty of conspiracy last year. He is yet to be sentenced
http://www.trinity.edu/rjensen/415wp/AmericanHistoryOfFraud.htm

US charges NYC Gallery owner in multi-million $ global scheme to sell real masterworks and forged copies, this is a US Gov. website.
(Prior source article: www.fbi.gov/dojpressrel/pressrel04/art031004.htm is now archived)

Top auction houses sell looted art, claims Howells Kim howells, the culture minister, is accusing Britain’s leading auction houses of trading in looted antiquities and demanding that they do more to ensure the provenance of objects they sell. Mr Howells, who caused uproar last week when he accused American film stars of being too “terrified” to fly to Europe, has now infuriated British auctioneers and art dealers with a suggestion that they could be supporting the trade in stolen goods.
museum-security.org/03/088.html

The Great $50 Million Art Swindle Another evidence of conflict of interests: Auction house loans money to art dealer!

http://www.forbes.com/2001/02/06/0206artfraud.html

From Library Journal
The sometimes shady world of the international art market has become a popular subject for writers and television reporters. Stolen treasures, smuggled antiquities, and the seemingly endless cultural atrocities of World War II have been covered in a spate of recent works. Watson, a journalist and author of the art-crime work The Caravaggio Conspiracy (LJ 2/1/84), here turns the harsh light of publicity on the elite auction rooms of Sotheby’s. Using information from a former Sotheby’s employee and the familiar, if sometimes distasteful tactics of investigative reporting, Watson builds a case that the auction house has systemically abetted the transportation of
antiquities and Old Masters in contravention of various national and international laws.

Sotheby’s:: The Inside Story

Be on Your Avant-Garde! A complete collection sold is fake?
(Prior source article: www.maineantiquedigest.com/articles/avan0498.htm is now archived)

Former leaders of Christie’s and Sotheby’s were indicted
for auction price-fixing

http://www.skeptictank.org/slatkin/rslat008.htm

A Fraud! Auction ‘Rivals’By Devin Leonard
Christie’s and Sotheby’s have always acted like mortal enemies whose well-bred staffs jockey for the next vault of impressionist oil paintings. Their top executives fuel that perception by trading polite insults as exquisitely wrought as a Cezanne still life. It turns out, however, that for the past eight years, the “grand old rivalry” between Christie’s and Sotheby’s has been a bit of a forgery. Only now is it igniting for real.
(Prior source article: fortune.com/fortune/articles/0,15114,371429,00.html is now archived)

More Woes for Sotheby’s; LO80 identified; LVMH Buys Tajan Auction House; State & Fed Crackdown on Internet Auction Fraud

http://www.iphotocentral.com/news/issue_view.php/11/12

Alfred Taubman Sentenced
(Prior source article: www.artcult.com/na289.html is now archived)

Van Gogh Sunflowers fake sold by Christie’s ?
http://answers.google.com/answers/threadview?id=160896

http://www.vggallery.com/misc/fakes/fakes5c.htm

Many other auctioneers, including Christie’s and Sotheby’s have sold such fakes on the market and though they cannot be suspected of having lent a hand to the fraud the competencies of their experts might at least be seriously challenged.
(Prior source article: www.artcult.com/forger2.htm is now archived)

My conclusion is very simple, Sotheby’s and Christie’s are manifestly in conflict of interests when they sell art work for their clients or when then analyze an artwork. Of course it is their freedom to accept or not to accept a Modigliani in their auctions. But my question will be : the paintings repertoried in the Ceroni are almost all sold, what will they do in the future?

No more selling Modigliani paintings? I doubt it. They will very rapidly find a solution to this and accept the many other authentic paintings by Modigliani hanging at this time in Museums or in vaults or on the walls of collectors and not repertoried in Mr. Ceroni’s catalogue raisonne.

The art world needs an “independent source of estimation “ like the auction house was supposed to be years ago.

Thank you to all the writers of these so interesting web pages mentioned in my links.”

By Gerard van Weyenbergh, who has spent the last 25 years working as an independent broker dealing with galleries throughout Europe. Working together with his son Arry Van Weyenbergh the two have been traveling extensively throughout the world, appraising and researching contemporary and old masters. Gerard is a recognized expert in 17th – 20th century European paintings , while Arry’s expertise: modern and international contemporary painters. Together their education includes art history degrees from- Ecole du Louvre, University of Montpellier and Ecole Saint Luc. With an extensive background in architecture Gerard’s vision in art incorporates the total aesthetics of art placement and environment for his client’s collections.

If you are new to fine art auctions, you might first decide what it is you like to collect. Is it abstract art, oil-based painting, impression art etc?

You also might want to read up on the art category that you prefer to buy. Take for example, you are into abstract art. It would help you in your art auctions if you knew more about abstract art history, the various abstract art movements. The best way to start would be on the internet. One such site is www.artsconnected.org. They provide comprehensive search tools for visitors to research on their favorite art category.

The other way is to browse the various art magazines, books, periodicals. You could go to your local bookstore, amazon or even the local library. Visit a few fine art auction houses and get a feel for the type of art you are interested in. Art Auction houses will usually provide detailed information on the art piece being auctioned.

How Do I Know The Art Piece I Like Is Real?

Ok, so you finally found an art piece you like. The next question you are probably asking is how do I know it is authentic? Since the value of an art piece is subjective depending on the person looking at it, it would be best if you can afford it to get a professional art appraiser to value the art piece.

For large fine art auction houses such as Sotheby, you can be assured that the art piece is already appraised and is authentic. However, if you are looking for an art piece at smaller auction houses or online art auctions such as ebay, you do need to be extra careful. Particularly so for online art auctions where there are many fake art pieces being auctioned.

If you like a fine art being auctioned online, the best way if possible would be to communicate with the art seller before buying. Online art auctions usually keep a track record of the art seller’s sales history and can help you to determine whether the seller is a reputable person.

By Ricky Lim, who used to runs an fine art auction info site.

PULSE Miami confirmed the Fair’s role as a leader in the highly competitive art market. It is a pioneering art fair.

From Chicago: Carl Hammer Gallery’s Chris Ware – Branford the Bee, The Best Bee in the World, 2003. Pen and Ink Drawing w Blue Pencil Overmarking on Bristol Board

With a record attendance of over 16,000 visitors, strong sales from the first day, a new venue that allowed expanded cultural programming and the hosting of Kaikai Kiki’s inaugural GEISAI Miami, PULSE Miami proved to be one of Miami’s most popular destinations during Art Basel Miami Beach.

The fair followed its successful invitational format, representing approx. 70-80 galleries invited by the PULSE Invitational Committee.

Exhibitors included:

Pulse moved from the tent it occupied for two years to a newly renovated 40K sq ft venue in the Wynwood District. This is to be its permanent venue.

“Let the numbers speak for themselves. In 1996 about 90,000 people visited Parisian galleries and antique trades. More than 13 million were recorded in museums.

Paris is the capital of France and art as well. Who dares to doubt it? There’s a great number of galleries: from the most traditional up to the modern ones which are in a constant search of new forms of work.

For instance, La Galerie Pascal Vanhoeke which introduced a curious system: you can borrow any exhibit paying just 3,8 % of its worth. And so for each item you take. In 28 months you can buy any picture or a sculpture of the modern author for the price you have paid during this time. Until you make up your mind you can keep it as long as you wish.

During the opening days, which take place every month, you can meet with the artists and professionals of the art world. A nice talk to the accompaniment of champagne or wine is a good way of spending your evening.

The International Exhibition Of Modern Painting is another must for a person who is interested in modern art. This is one of the key world exhibitions, hosting more than 150 galleries from all over the world every year. A wide range of works is displayed here: from Alechinsky to Picasso. A honourable country-guest is elected every year. The best way to keep up with the modern world of art is to visit this exhibition.

For antique-lovers there’s nothing like antique shops, which are in abundance represented in Paris. Antique furniture, jewelry, crockery, canvases…anything you like. Antiquarians are real treasure hunters. In search of a rare thing they don’t spare time and effort, exploring collection after collection, address after address. A long period of study, affiliation and restoration follows. Only after that can the antiquarian item appear in the shop. So buying the picture in such a shop one can be sure he purchases the original.

Besides don’t miss a chance to visit the auctions where one can buy rare things. The majority of them are situated in Le Louvre des Antiquaires (the antiquarian louver).

Paris is a real treat for the true connoisseurs of art. There’s only one problem: the choice is so great that one can’t help buying more and more! ”

Article Source: http://www.articlesbase.com/travel-articles/art-for-arts-sake-its-all-about-paris-225475.html

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